As Halo mods go, you can’t get much better than SPV3. Custom Mapping Team, headed by Masterz1337, have created nothing short of a masterpiece with their fantastic re-imagining of Halo: Combat Evolved‘s campaign. Downloadable for free on PC, SPV3 features many interesting surprises for even the most hardened Halo veteran, thanks to remastered graphics, new assets, new weapons and vehicles, and in some cases totally re-imagined levels with new playspaces to explore. As if all that were not enough, the mod also features new enemy types including Brutes, Skirmishers, Sniper Jackals, Honor Guards three different types of Hunters. With so much in this mod, it can be hard to summarise totally in one article, so this may not be the only time this mod features as a topic in the future. For this introduction, the focus will be the new features of this mod that stand out the most when compared with both Halo: Combat Evolved and it’s Anniversary version.
One of the first aspects of this mod that jumps out at you is the music. Whilst Halo: Combat Evolved Anniversary’s soundtrack mostly stuck to the tunes featured in the original game, SPV3’s soundtrack draws from various other Halo games and many of the remasters are radically different from their original counterparts. Whilst many of the classic musical cues in the levels we remember make a return, the mod adds enough new music to make each level feel like an entirely new experience. Highlights of the soundtrack include Under Cover of Night, Rock Anthem for Saving the World, Halo, Sleeping Grunts, Covenant Dance, Leonidas, Brothers in Arms and In Amber Clad, but each and every track in the game has been painstakingly and quite spectacularly enhanced for this updated Halo campaign.
The New Levels
The most exciting of the new additions to the campaign in SPV3 is the new levels, as each and every one has had its weapons, objectives, encounters and atmospheres altered or expanded in various ways. The Anti-Gravity sections in The Pillar of Autumn, the Anti-Air Wraith battle in Halo and the Grizzly rampage in Assault on the Control Room are among the most notable stark enhancements to the campaign’s fun factor, and long-time fans of Halo: Combat Evolved who know the game inside out will be met with many wonderful surprises when playing through SPV3’s campaign as the familiar and the unfamiliar collide in a thrilling single player experience. With all ten of the original levels plus an alternate take on The Silent Cartographer featuring in SPV3, there are a vast variety of classic and brand-new enemy encounters to overcome and dozens of tweaks to each and every facet of the original Halo experience.
In the original version of Halo: Combat Evolved, there were four Covenant races featured – Elites, Grunts, Jackals and Hunters, with some of these having variants such as the Jackal Major, the Stealth Elite and the infamous Zealots. SPV3, on the other hand, has the benefit of hindsight – since Halo: Combat Evolved‘s release, various other Covenant races and variants have been introduced into the franchise such as Jackal Snipers, Elite Honor Guards, Skirmishers and Brutes, and thanks to the power of mods all of these and more are featured in SPV3’s campaign, as well as a vast variety of new Covenant weapons like the Focus Rifle, the Brute Plasma Rifle, the Brute Shot and even Halo 5’s ‘Voi. Also, the CMT have created many of their own totally new Covenant weapons that blend seamlessly into the aesthetic of the game, such as the Shredder (a Brute version of the Needler), the Particle Carbine (like the standard Carbine but battery powered) and the Brute Plasma Pistol (which includes an overcharge that spews fire upon impact). These additions to the Covenant make them more dynamic enemies to fight and the vast variety makes for some challenging encounters with larger groups of enemies that the original Halo: Combat Evolved would have struggled to process.
Another big surprise in SPV3 is just how much the Flood have changed in this mod compared to the original game, as they are now a more dynamic threat than ever before. Each of the five Flood levels have been totally reworked from the ground up – the original identity of levels like The Library, Keyes and The Maw have been retained but the mood and atmosphere have been altered considerably, essentially transforming the latter half of the game into a unique and exhilarating horror experience. Levels that were formerly bogged down by repetitive level design and unimaginative encounters have now been re-imagined into some of the best Halo experiences, and this is made all the more exciting by the wide variety of forms the Flood can take in this mod. In the original game, the Flood came in four basic forms – the tiny Infection Forms, the bloated and explosive Carrier Forms and the two varieties of Combat Form, derived from either Elite or Human host bodies. In SPV3, new additions to the Flood ranks include Jackal Forms that howl and screech as they leap towards the player, Brute Forms that are essentially tankier versions of the standard Combat Forms and, for the first time in a Halo game, ODST Combat Forms that are stronger and more dangerous versions of the standard Human Combat Form. If all this were not enough, CMT went one step further and added Halo 3’s instantaneous infection feature, meaning that any Covenant or Human soldiers that are attacked by an Infection Form will be transformed into a Flood form before your very eyes.
Those out there who are Halo fans and have not yet given SPV3 a go are strongly advised to download this mod, it has clearly had a lot of time, care and effort put into it to make it fun and fresh for fans of Halo: Combat Evolved and the Halo series in general.
Since the first appearance of the Daleks in the Big Finish Monthly Range, it seemed only a matter of time before Davros himself would make an appearance. Terry Molloy, the actor who portrayed Davros in many of his appearances in Classic Doctor Who (specifically the 1980s) later reprised his role in the Big Finish audios, often appearing alongside the Daleks. As fascinating a character as Davros is, fans had definitely had enough of the character by Remembrance of the Daleks as he had appeared in every Dalek story since Genesis of the Daleks at that point, which was a contributing factor to Big Finish leaving Davros out of many of their early Dalek stories. Since Davros has appeared in five of the Monthly Range audios up until now, how do these appearances rank against each other? Is the character of Davros still alive and well, or should he have died on the bridge of his flagship in Remembrance?
Daleks Among Us
This story features Davros at some point after the events of Remembrance of the Daleks, and yet his presence in this story is nowhere nearly as effectively executed as in Terror Firma, despite actually being set before that audio in Davros’ personal timeline. One of the major problems with this audio is that there are plenty of good ideas, most notably the idea of a colony that was so deeply socially divided by a Dalek invasion that following their liberation they outlaw all mention of the word ‘Dalek’, yet none of the ideas in this audio are developed to their full potential. The story goes through several ‘phases’ before finally settling on the concept of a pureblood Kaled attempting to usurp Davros’ mantle, which is another great idea, but the added storylines of Davros’ attempted rebellion and Elizabeth Klein’s origin story mean that there is never enough focus on each individual plot thread. That being said, Terry Molloy as Davros is definitely the highlight of this audio, as all of the scenes between him and Sylvester McCoy’s Seventh Doctor are fantastic.
The Curse of Davros
This Davros audio is unique in two ways. Firstly, it takes place partially in a historical setting – namely, the Battle of Waterloo – the Dalek’s latest plan is to swap the minds of Humans and Daleks in order to help Napoleon win against the English, thereby rewriting the course of Human history, and for the most part this element of the story is well executed, with great portrayals for both Napoleon and the Duke of Wellington. The other aspect of this story is a body-swap plot involving Davros and the Sixth Doctor, which allows for some great potential for both Colin Baker and Terry Molloy as both have to pretend to be the other’s character, and the results are magnificent. Colin Baker does a great job of altering his demeanour for this audio to make the idea that he is actually Davros genuinely believable, and Molloy also makes use of his great voice-work to play the Sixth Doctor through the Davros voice, a feat that has to be heard to be believed.
The Eighth Doctor faces Davros immediately following his complex Divergent Universe arc that began with Zagreus, and as a result of his recent freedom from the alternate universe he is ecstatic at the thought of returning to a universe of Time. It seems fitting, therefore, that Davros would be waiting to ruin his day, and Terror Firma presents what is perhaps Davros’ most insidious scheme as the insane Kaled scientist uses his new Daleks to conquer the Doctor’s favourite planet – Earth. Davros and the Doctor have some great scenes in this audio, particularly since Davros is also dealing with the invasive ‘Dalek Emperor’ personality that is attempting to take over his mind and body. Ironically, as a result of this Davros proves quite un-Dalek like in this story – he shows true fear at the prospect of becoming a fully-fledged Dalek, and the juxtaposition between his personality and that of the Dalek Emperor helps highlight the most prominent ways in which Davros is nothing like his creations.
Serving as a bridge between Revelation of the Daleks and Remembrance of the Daleks, this audio presents an interesting take on Davros’ character, in that he spends the majority of the story pretending to be a kindhearted scientist called ‘Professor Vaso’ who happens to be one of Mel’s employers on the human colony Lethe. Secretly working for the Daleks, the Sixth Doctor is sent to Lethe to investigate Davros’ actions, although both he and the Daleks actually have ulterior motives. This story is full of twists and turns, and Davros is at his best – scheming and manipulating others from behind the scenes whilst putting on a face of goodwill, in a fashion very reminiscent of Genesis of the Daleks. Speaking of Davros’ schemes, the plot he concocts in this story is delightfully sinister, particularly since he forms such convincing personal relationships with the staff of the Lethe colony – only to secretively kill them off one by one for use in his monstrous ‘Juggernaut’ program.
Arguably one of the best Doctor Who audios of all time, Davros is the second in the fantastic ‘villains trilogy’, which aimed to explore and humanise three of the most famous recurring villains in Classic Doctor Who – Omega, Davros and the Master. Of the three, some might argue that Davros is the best (although Master is perhaps the more popular choice of the trilogy) as the story uses the character of Davros but without the inclusion of the Daleks, giving this audio a truly unique setup that it does a great job of utilising. Davros’ history is explored to a degree, eventually paving the way for the more in-depth I, Davros, and the parallels between Davros’ long-dead potential lover Shan and the Dalek historian Lorraine is a fascinating sub-plot.
Clearly, the character of Davros is alive and well (despite appearances) and Terry Molloy does a fantastic job of bringing his vibrant performance to the audio format. Fans in the know will notice that this ranking is essentially the reverse of the release order of audios featuring Davros, but that isn’t simply because of the law of diminishing returns – Davros and The Juggernauts are both so fantastic that few other audios would beat them in any contest, and the others simply fall in behind – every audio featuring Davros is an instant classic.
The idea of ‘Canon’ in Doctor Who is a unique one, most notably because of how fans of the show interpret the idea differently to that of other shows. In the conventional sense, a franchise’s ‘Canon’ is the established set of works that are a part of the ‘official’ story or universe of that franchise. Normally franchises headed by a single writer will have a strict set of rules as to what is considered ‘Canon’, examples being the Harry Potter universe and the Lord of the Rings series, which both have installments either written or partially written by other authors, meaning that their ‘Canon’ status is debated among fans. Other franchises have experienced controversial alterations to the established ‘Canon’, either via the introduction of alternate universes as in Transformers or Marvel, or a complete behind-the-scenes upheaval of the timeline, such as what Disney did to Star Wars.
‘Canon’ in Doctor Who, however, has a slightly different twist to it – since the show deals with the concept of time travel, paradoxes, re-writing history and alternate universes on a weekly basis, it is a generally established fact within the Doctor who fan community that, as time can be rewritten, anything and everything written or produced for Doctor Who has the potential to be ‘Canon’ in the sense that they once happened, but were overwritten within the show’s history – examples of this include the original Dalek origin story with the Dals and the infamous ‘Dimensions in Time’ Children in Need Special. This essentially opens the floodgates and renders the concept of ‘Canon’ in Doctor Who obsolete, since even within the televised show itself there have been instances of the events of certain episodes being wiped from the timeline. Even so, the debate over whether productions created by companies that the BBC licences to create Doctor Who media should be considered ‘Canon’, most notably, the Big Finish Audio Series.
Since their inception, the Big Finish Audios have attempted to fill narrative gaps or exploit untapped potential from the Classic Series, and this is one of the biggest draws to the series for Classic Who fans who yearn for more episodes from their favourite Classic Doctors. There are instances of the timelines of specific Doctors relying heavily on the Big Finish audios, such as the Sixth and Eighth Doctors, and without those audios in the ‘Canon’ these Doctors would have incomplete tenures. As Big Finish’s range of audios grows, their influence on the established timeline of Doctor Who grows also – a clear example of this is their release of The Brink of Death, which is the Sixth Doctor’s official regeneration story. The same phenomenon is true of the more recent Big Finish productions related to the revived series, such as the new U.N.I.T. series and the Time War series, and the fact that the BBC has granted Big Finish the rights to the New Series as well as the rights to use the new logo and branding suggests that they have been firmly entrenched in ‘Canon’ status.
Nevertheless, for the many fans who have not experienced the Big Finish audios, they seem more like optional extras than an essential part of the Doctor Who timeline, and it all really boils down to personal experience and opinion. But in many ways, that is what is so great about Doctor Who’s ‘Canon’ – it is entirely personal to one’s experiences with the show and its associated media. Those who grew up reading the Doctor Who books are far more likely to consider them to be as ‘Canon’ as the televised series itself, particularly since many of the Doctor Who books are superb, and yet those who have not read the books can still get full enjoyment out of the show and the audios, and so on. This is indicative of the flexible and accessible nature of Doctor Who as a series – although the sheer mass of televised episodes, audios, books and other associated media can seem daunting, the show can actually be accessed quite easily across its many eras and formats thanks to the diverse range of stand-alone stories.
And finally, should the matter of ‘Canon’ really impact ones enjoyment of a piece of media? After all, the recent decision by Disney to rebrand the Star Wars Expanded Universe as the ‘non-Canon’ Legends series may have caused controversy among the fanbase, but that is only because they loved those stories so much – yet the stories themselves are still there, and can still be enjoyed just as easily whether they are ‘Canon’ or not. In answer to the overall question of whether the Big Finish Audios are canon or not, there is realistically only one answer – yes. The BBC has accepted Big Finish’s continuity with open arms, even giving them the rights to almost all of the characters in the revival including the Tenth Doctor, Rose, Donna, Osgood and the War Doctor, and Big Finish is slowly beginning to influence the main show too – the Eighth Doctor recites all of his Big Finish companions in the 50th Anniversary minisode The Night of the Doctor. But ultimately, the question of ‘Canon’ in Doctor Who is an irrelevant one, particularly given the temporal or ‘timey-wimey’ nature of the show, and Doctor Who fans should simply enjoy the vast array of visual and audio media available to us.
The Second Doctor finale The War Games is now almost 50 years old, and marks several important milestones in Doctor Who’s history – it is the final episode of the Classic era to be broadcast in monochrome, and it is the final episode in the distinguished run of the Second Doctor, played by Patrick Troughton. Unusually for a Classic Doctor Who story, this episode is ten parts long, giving it a total run time of almost 250 minutes, making it quite the epic. But almost 50 years later, how does this climactic finale hold up?
The vast majority of the early parts of this episode can be summed up in three words all too familiar to fans of Classic Who – ‘capture and escape’. This method of storytelling can get somewhat tiresome, but in fairness to this story, the setting and characters vary dramatically throughout the early episodes thanks to the intriguing and fantastically executed central premise – the idea that the TARDIS lands in what seems to be the First World War, that is actually another planet upon which various wars from throughout human history are being played out in the titular ‘War Games’, allowing for some dramatic variations in setting that keep things interesting.
Most of the first 5 episodes revolve around the Doctor, Jamie and Zoe finding their bearings in this strange setup – at first, the episode takes its World War 1 setting very seriously, and it should be noted that the writers and producers took extra time and care to ensure that their depiction of the Great War was both respectful and accurate. This is complicated somewhat as the story progresses, however, and as the truth unfolds the World War 1 setting falls away to make room for depictions of the American Civil War and the War Lords’ headquarters. Speaking of the War Lord, both he and the War Chief are great characters – the dialogue between the Doctor and the War Chief in particular is fascinating, especially given what we know in hindsight about Gallifrey. The War Chief is somewhat of a ‘prototype’ for the character of the Master, who would debut on the show just 2 years later in 1971’s Terror of the Autons, but this does not mean that the War Chief lacks his own distinct personality – his lack of a prior relationship with the Doctor allows him to be manipulated in a way that the Master would never have been.
As usual, Jamie and Zoe are both fantastic in this story, a fact that is made all the more tragic by the fact that this is their final story. The eventual fate of the duo is heartbreaking, but anticipation of this does not overshadow the entire story in the way that, for example, Adric’s death does for an episode like Earthshock. One of the best things about The War Games is how varied it is, and although it is a whopping ten parts long, the format takes full advantage of the unique setting to keep things refreshing every couple of episodes. In a similar fashion to a story like The Trial of a Time Lord, the episode’s unusual length is warranted thanks to a good use of setting and using changes in location to advance the story. Jamie and Zoe do just as much to advance the plot as the Doctor does, and Jamie in particular shows just how much he has learned during his travels with the Doctor in some fantastic scenes, making this episode an essential for fans of these companions.
This story also features the departure of Patrick Troughton as the Second Doctor, and his regeneration is perhaps the strangest of them all. The seemingly omnipotent Time Lords in this story appear far more benevolent than how they are depicted in later media, and the circumstances behind their appearance present a turning point in the Doctor’s character as he finally realises that he has encountered a problem that is beyond his ability to resolve. The War Games does a great job of maintaining tension, and there is a continuous sense that the stakes are high as the Doctor and his companions make their way through Earth’s various wars – in fact, this may be one of the most divisive Doctor Who episodes in terms of engagement – on the one hand, ten parts is definitely too long for any single Doctor Who story, and yet The War Games seems to defy this by effectively breaking the runtime into distinct sections, each with their own individual setting, villains, obstacles and outcome, that all roll together at the end and blend seamlessly onto one long narrative. This episode is similar to Genesis of the Daleks in the sense that on paper it would seem as though the run time is too long, and yet the actual execution subverts expectations for an overlong Doctor Who story and turns it into an epic that maintains the engagement of the audience throughout thanks to clever narrative techniques.
Overall, The War Games is a great watch for so many reasons, and whilst it certainly won’t be everyone’s cup of tea either due to the subject matter, the length or the era from which it originated, for fans of the Second Doctor this is definitely a must-watch, and fans of Classic Who in general should definitely give it a chance. The final episode in particular is heartbreaking but hopeful at the same time, and given the hindsight of knowing that great things are yet to come, the ending is as bittersweet as it is dark and gripping.
It is a well known fact within the Halo community that Halo 2 was rushed to release, and although the finished product is a great game, it wasn’t as polished as the developers would have liked, particularly in some areas of the campaign. This is great news for players, who in the time since the game’s release have found a multitude of ways of exploiting glitches in the game’s physics engine to explore outside the levels in the campaign, which the developers actually filled with Easter Eggs knowing that this would happen. Some of the glitches in Halo 2, however, are less to do with the lack of level boundaries and quirks with the physics engine and more to do with specific objects or enemies in particular levels that, to the uninitiated, may come across more like Easter Eggs – and for all intents and purposes they are, albeit unintentional ones.
10 – Needler Sentinel – Quarantine Zone
The origins of this particular glitch are somewhat unclear – either Bungie originally intended for Sentinels to carry and use weapons other than their usual energy beams, or it was simply a one-off error with the coding of this particular Sentinel – but either way, in a particular room on the game’s eleventh level, the player encounters a massive firefight between Sentinels and Flood combat forms that can get pretty hectic. In the chaos, it can be hard to miss this one particular Sentinel that fires Covenant Needler rounds instead of the Sentinel Beam, and when it is destroyed, it drops a Needler. Interestingly, the Sentinel Enforcers do use a weapon similar to the Covenant Needler, but that weapon fires red shards instead of purple, and Sentinels are never seen wielding that weapon either. Bungie employees have given varying explanations for this, from an accidental ‘slip-of-the-mouse’ when the level was being coded to an entirely cut feature in which Sentinels would use their own version of the Needler on occasion – regardless, it is an interesting glitch.
9 – Sergeant Johnson Drops Dead/Four Sergeant Johnsons – The Great Journey
This glitch is actually two (or perhaps even three) glitches at once, all in the same place on the same level, but they essentially amount to the same result. If the player can manage to maneuver a Covenant Spectre into the final room of the final level of Halo 2 – no small feat – one can actually use the vehicle in the final boss against the Brute Chieftain Tartarus, and can even convince Sergeant Johnson to climb aboard. As Halo 2 veterans will known, Johnson is crucial in the final fight against the Chieftain as he uses a Covenant sniper rifle to lower the Brute’s shields, thereby allowing the player to deal the fatal blow. Due to a strange glitch in the design of the three-tiered arena, however, crouching on the lowest level will cause the player or any other character to drop dead instantly, because you technically intersect with the death barrier that prevents you from falling beneath the floating structure. If one can maneuver Johnson in the Spectre onto the bottom level and cause him to climb out, and because Johnson always crouches after exiting a vehicle, the normally invincible Sergeant will drop dead, allowing you to loot his weapon.
Also, using the same method of getting Johnson in the Spectre, the player can amass a small army of Johnsons since the game automatically spawns a new Johnson when the old one moves too far away from his sniping spot – undoubtedly to keep the battle fair in case Johnson somehow falls. With one Johnson on the powerful plasma turret and two Johnsons riding shotgun, plus another Johnson occupying the sniping spot, this glitch can seriously tip the balance of the boss fight in the player’s favor.
8 – Bullying the Heretic Leader – The Arbiter
For those who played the first two Arbiter levels and thought “How is the Heretic Leader always one step ahead?” and aren’t quite satisfied with finally killing him at the conclusion of the level The Oracle, on the original version of Halo 2 for the Xbox it is actually possible to reach him early and essentially beat him up – you can toss grenades at him, throw him into a chasm, or even drop a Banshee on him, and yet he will simply refuse to die. For this to happen, you must equip an Energy Sword in the scene in which the Heretic Leader is visible through a window giving orders to his men and then climbing aboard a Banshee to escape your wrath once again. If you time it right, it is actually possible to use the sword’s lunge attack to clip straight through the window and hit the Heretic Leader directly. Now simply use a grenade to render his Banshee inoperable and he will just stand there, as if accepting his fate. It should be noted that doing this makes the level impossible to complete, and as previously mentioned this only works on the original Xbox version of Halo 2, so it might be more trouble than it is worth at this point. Still, a fun time-wasting glitch that is actually one of the few glitches in the game to be patched in later re-releases.
7 – Exploring ‘Lake Regret’ – Delta Halo/Regret
Who doesn’t love exploring outside level boundaries? This particular glitch can allow players to not only explore outside the usual confines of the levels Delta Halo and Regret, but it also demonstrates the Master Chief’s less-well known ability to breathe underwater indefinitely, something that comes in very handy when walking across the bottom of a deep lake Pirates of the Caribbean-style. To accomplish this, one has to simply use a grenade to propel the player onto the hills around the final part of Delta Halo or the first part of Regret, and then simply walk around the lake to find a point in which it is possible to walk into the water. Falling into the lake is not a good idea, since fall damage will usually kill the player on contact, but another method that involves using a Ghost to climb the grassy verges around the level can speed things up a bit. (This is easier with the Sputnik Skull enabled that allows the player to propel themselves further with explosives). Once in the lake, the player is free to wander around, study the architecture of Regret’s temple that seems to float on the lake with the supports cutting off about 3 feet beneath the water’s surface, listen for the sound of invisible Whales, and find a large and ominous hole in the floor that seems to serve no real purpose whatsoever.
It should be noted that, although not included here, the well-known ‘Vacations’ that can be taken on almost every Halo 2 level (using similar methods to exploring Lake Regret) constitute their own ‘sub-category’ of fun and interesting glitches. In fact, that might be the subject of another article later down the line…
6 – Knock the Prophet out of his Throne – Regret
Speaking of the Prophet of Regret, another fun glitch allows the player to temporarily remove the shriveled Covenant hierarch from the safety of his Gravity Throne. During the boss fight with him at the end of the level Regret, the throne must be boarded in order to injure the Prophet as his shields absorb anything the player can throw at him from overcharged Plasma-Pistol shots to both barrels of a Rocket Launcher. However, since Regret’s throne is treated like any other vehicle in order for the boarding mechanic to work, with enough explosive force the player can flip the throne over and, like all occupants of a flipped vehicle in Halo, Regret will be forcibly ejected. Interestingly, the Prophet will simply sit on the floor in the same position as if he were occupying his throne and then attack the player with a Plasma Pistol of all things. This alludes to the fact that in the Halo novels he and most other Prophets are depicted carrying at least one Plasma weapon as a sidearm, and the Prophet will actually drop this pistol upon death whether he is in or out of his throne. This glitch is tricky to pull off, and it is recommended that either the Scarab Skull or weapons like the Fuel Rod Gun or Needler are used since only these can create enough inertia to bounce Regret out of his seat.
5 -Miranda in Space – Cairo Station
For those who are not convinced that Miranda Keyes is an unmitigated badass, this glitch confirms that Miranda Keyes can actually breathe in space. Using an Energy Sword on the level Cairo Station, it is possible to push Keyes (or Johnson, for that matter) past the point in the level in which they would usually leave the Chief and through an airlock, and as they are programmed to be invincible the repeated strikes will not kill them. By eventually pushing them into a section of the level that they are never supposed to enter, the player can actually push the naval officers into space, as the next section of the mission requires Chief to exit the station and fight Covenant EVA troopers. Though they need the player’s help to get through the level, Keyes and Johnson will attack enemies that are nearby and speak to the Chief, despite the fact that they are in a near-vacuum without any protection whatsoever. Oddly, they will de-spawn if the player attempts to push them back into the station later in the level, and nudging them off the station and into the vast abyss of space will cause them to drop like a rock, still adopting a combat-ready pose as they plummet into the Earth’s atmosphere.
4 – Plasma Grenade Fountain – The Oracle
This is another glitch that exploits the Heretic Leader, specifically one of his holo-drones. At the start of the game’s seventh level, the player encounters a hologram of the Heretic Leader that taunts you and your allies before disappearing. However, in the game’s code, this hologram is treated as an enemy – and if you melee it with the Piñata Skull on in Halo 2: Anniversary, it will drop Plasma Grenades in abundance. Using the faster swing of the Energy Sword means that in the brief time the hologram is present the player can spawn dozens of grenades, and this can cause a massive explosion if they are all detonated at once.
3 – Permanent Invisibility – Chief Levels
In the original Halo 2 for the Xbox, Skulls had to be found and activated in levels on Legendary, and the effects of the skulls only lasted until the console was switched off. This was done because, at the time, there was no menu option to activate and deactivate Skulls, they were merely included by the developers as wacky Easter Eggs. As a result of this, acquiring the Envy Skull in the original Halo 2 and using it just as a checkpoint passes, saving and exiting, and then restarting the Xbox and loading up the level will cause the Chief to be permanently invisible. This works because the Envy Skull trades Chief’s flashlight for Arbiter’s active camouflage, a feature that he can never acquire in regular gameplay, but only for the time in which the Envy Skull is activated. Because switching off the Xbox deactivates the Skull, saving and exiting a level while Chief is still invisible means that, after the Skull is deactivated, the game cannot revert him back to normal visibility and the player will be able to sneak up on unsuspecting enemies and eliminate them at their leisure. This glitch is most useful on Legendary, but it can only be used in levels in which Chief is the playable character.
2 – Cortana’s Scary Face – The Great Journey
This glitch is a result of the feature in Halo 2: Anniversary that allows players to switch back and forth between the classic graphics and the updated, remastered graphics created by 343 Industries and Blur Studios. At the conclusion of the final cutscene of Halo 2 when Cortana accepts Gravemind’s offer of answering his many questions about Humankind and the Covenant, switching from new graphics to classic graphics at the last second of the cutscene after it cuts to black will present the player with this abomination – clearly Cortana’s rampancy is taking its toll. This is caused in part by the fact that the remastered cutscene is longer than the classic cutscene was, and so switching back shows the player the models after the cutscene has technically already finished, and is also due to the fact that the camera has panned inside Cortana’s head, leaving only her eye visible. Hilariously, this glitch is also accompanied by the spooky final few notes of the Halo 2 Soundtrack’s Epilogue.
Honorable Mention – The ‘Ghosts’ of Halo
This phenomenon caused quite a stir when it was first discovered in the early days of Halo 2 on Xbox Live. According to legend, players on maps such as Lockout on Xbox Live began reporting sightings of strange characters that resembled other players but lacked a gamertag, movement animations or a place on the scoreboard – these ‘Ghosts’ would reportedly kill players by sliding around the map and tossing grenades in all directions, and in certain cases they were apparently un-killable. Various explanations for this odd occurrence were suggested throughout the fanbase such as the ‘Ghosts’ being a result of a glitchy network connection, but other more ludicrous theories sprung up such as the idea that Bungie employees had programmed bots into the game, that Microsoft were spying on players or that the maps were legitimately haunted. Ultimately, confirmed sightings of the so-called ‘Ghosts’ that haunt various multiplayer maps of Halo have been scarce since Xbox Live has improved, which would suggest that the phenomenon was a result of little more than a bug in Xbox Live or a dodgy network connection, or that the entire thing was a hoax. Either way, the ‘Ghosts’ of Halo are still regarded among the game’s most infamous glitches.
1 – The Honour Guard Councilor – Gravemind
Halo 2 had numerous boss battles in the game, ranging from our old friend the Heretic Leader to the Brute Chieftain Tartarus, but one boss fight in the game was actually created by accident as a result of a glitch in the game’s code. The final enemy of the mission Gravemind is an Elite with a unique set of armour that changes each time the level is played – sometimes the Elite will have an Honour Guard helmet, a Councilor helmet, or even no helmet at all – but the armour will always be white with the gold and black spurs of the Honour Guard. This mini-boss with unique randomised armour is actually the result of the game trying to spawn an Elite Zealot that was coded with the wrong tags, causing the Elite to spawn with widely varying armour and much higher shield strength. Strangely, the Elite can sometimes spawn with the face of Rtas ‘Vadum, an ally to the Arbiter throughout the Halo 2 and Halo 3 campaigns, and sometimes the Elite spawns with a strange and unique helmet that was coded into the game but never allocated to any characters. This visually unique accidental mini-boss is arguably the best example of how good some of the glitches in Halo 2 actually are – although the game is riddled with bugs like these, it doesn’t negatively impact the gameplay, and instead serves to make the game that bit more interesting.
It has been over 30 years since Colin Baker’s final series, The Trial of a Time Lord. The unusual format of this season means that, technically, it is one long 14-part story, framed as a trial conducted by the Time Lords to determine if the Doctor has broken the first law of time. Leading the prosecution is the mysterious Valeyard, who is essentially the Doctor’s nemesis throughout this season, and each individually named story is a piece of evidence brought forward by either the prosecution or the defence. At the time this series was allegedly poorly received – according to many of the contemporary reviews, audiences at the time regarded this season as a weak attempt at saving the show from its eventual cancellation. Today, reviewers may have been somewhat kinder to this season, but still regard it with a hint of distaste. However, 30 years later, how does this 14- part serial hold up? And did it save the show from an imminent cancellation in 1986?
Part 1 – The Mysterious Planet
As far as the opening to a 14-part series goes, The Mysterious Planet is not half bad. Despite many reviewers at the time calling this story ‘boring’, it seems in hindsight that they were wrong, as this story seems to embody everything that is inherently good about a Doctor Who story. For a start, it was written by the late Robert Holmes, one of the legends of the Classic Who era, and his mastery of making every supporting character interesting really shines here. Sabalom Glitz is a great example of this, and he has some great lines that are delivered brilliantly. The mystery that permeates throughout this story is an interesting one, and the Doctor is significantly less of a jerk which definitely helps, it seems that the writers and producers were really trying to pull out all the stops. An example of this is the impressive opening shot, a wide zoom towards the humongous Time Lord space station that is a fantastic use of model shots.
Part 2 – Mindwarp
This story is dark. Really, really dark. The story is a complex web of intrigue and deception, as the Doctor pretends to work for scientists attempting to use brain transplants to discover the secret of immortality, funded by Sil to save the Mentor leader Kiv from a painful death. But what really makes this story dark is that scene – particularly the Sixth Doctor’s reaction to it, and for those who have not seen this episode, it is well worth a watch just for one of the most memorable cliffhangers in Doctor Who history. As far as the actual episode goes, the characters are well-defined with clear motives, and there are some great performances here – particularly Brian Blessed as the over-the-top but oddly likeable King Yrcanos. The only real criticism of this story is the fact that most of it takes place in very similar-looking dirt tunnels, or the same few laboratory sets, meaning that there isn’t much visual variety aside from the occasional flashy costume. Still, the episode’s story feeds in well with the trial, scenes of which are still strong, and there is some genuine emotional weight to this story, making it perhaps one of the strongest of the season.
Part 3 – Terror of the Vervoids
Our first proper introduction to Mel as a companion is certainly a strange one – after all, this was before Big Finish came along to refine her character, meaning she does have a few high-pitched and prolonged screams in this episode, usually at the cliffhangers. Oddly enough, at the start of each episode when the repeat of last week’s cliffhanger plays, often her scream is edited out, meaning that if this serial were to be condensed into one long unbroken movie, most of her screams would be omitted. Even so, Terror of the Vervoids does have a few moments that are genuinely creepy – the scenes in the pod growth room are particularly creepy – but overall this story lacks realism, as the audience are somewhat disassociated from this adventure by the fact that it takes place in the Doctor’s future with a companion that has never been before seen. Also, the version of the Doctor who is on trial admits that the footage has been doctored, meaning that anything could essentially happen and it have no real consequence. Speaking of the trial, the framing device becomes increasingly tiresome the episode goes on but there are some good moments. Generally, however, Terror of the Vervoids is a significant step down from the episodes that preceded it, and the worst is yet to come…
Part 4 – The Ultimate Foe
Originally a two-part story written by Robert Holmes to tie together The Trial of a Time Lord, The Ultimate Foe was unfortunately left unfinished by the writer’s death in May 1986. Although Eric Saward was able to finish the script for episode 13 of the season, an argument with then-showrunner John-Nathan Turner over the ending caused Saward to quit, and Turner instead hired writers Pip and Jane Baker to write the final episode. In all honesty, this was a terrible mistake, as although part one of The Ultimate Foe establishes a creepy and sinister side to the Matrix and features the return of Sabalom Glitz, in the end that is all that is good about the story. The undoing of one of the greatest moments in the season coupled with the idea that the Valeyard is a future Doctor make this episode seem like glorified fan-fiction, and although Anthony Ainley’s Master features to stir up trouble, overall the episode seems a lacklustre conclusion to the season. The Valeyard himself is boring and predictable, the method by which he is defeated makes little sense, Mel and the Time Lords in the trial room do very little, and the infamous ending scene serves as a less-than-fitting sendoff to the Sixth Doctor.
Overall, whilst The Trial of a Time Lord has a strong opening, the quality wanes as the season progresses starting with Terror of the Vervoids, and the finale is disappointing and almost sad in retrospect. What makes this season particularly frustrating is that Big Finish were able to successfully redeem the Sixth Doctor in their audios, yet neither John-Nathan Turner or Eric Saward seemed capable of making Colin Baker appealing to audiences at the time, and the series was forced to undertake some radical changes following this season’s transmission. Still, both The Mysterious Planet and Mindwarp are worth a watch, and whilst Mel’s introduction as a companion is less than remarkable, she does go on to become more bearable during the Seventh Doctor’s tenure. The season is therefore worth a watch, it doesn’t hold up as well as one might like but it is still a significant turning point in the show’s history, and does help to contextualise a lot of the great Big Finish audios featuring the Sixth Doctor, Peri and Mel that were to come.
Due to the unfortunate junkings of video tapes in the BBC archives during the late 1960s and most of the 1970s, there are a significant number of classic Doctor Who episodes from the 1960s that are missing, leaving several serials incomplete. As of now, there are 97 missing episodes, but at the time of the release of the DVD set ‘Lost in Time’ in 2004 there were 108, and since then some of Galaxy 4, The Underwater Menace and The Web of Fear, and all six episodes of The Enemy of the World, have been recovered. What ‘Lost in Time’ provides is a variety of episodes from many of the remaining incomplete serials, including The Wheel In Space, The Evil of the Daleks and The Daleks’ Master Plan. There are also many special features and a detailed documentary on missing episodes and their fragmented remains included in the DVD. But since many of these episodes will likely be all that is left of these episodes unless more miraculous recoveries are made, how do these glimpses into the stories that once were stand as a sequential viewing experience?
The first set of episodes featured are of the historical episode The Crusade, which is one of the few episodes in this collection to have all of its episodes featured, albeit with parts 2 and 4 as audio tracks. Watching just the episodes alone can be enough to satisfy fans of historicals as there is plenty of intrigue and interesting conflict between the Saracens and the forces of King Richard, but for those who want the full story the audio tracks are there to fill the gaps. Overall The Crusade is a strong entry in the collection and is a treat for fans of Vicky, who was introduced midway through Season 2 as a replacement for Susan, and a great example of the historical episodes that were common in the early years of Doctor Who.
The Daleks’ Master Plan
The three remaining episodes of The Daleks’ Master Plan give only a brief glimpse into the vastness of this story – at twelve parts long, it is difficult for only episodes 2, 5 and 10 to make an impression of what the entire story was about. However, thanks to the tradition at the time to include roundups of the basics of the plot in each individual episode (to ensure that, had people missed an episode, they could catch up easily) the broad story of this lost 12-part epic can be inferred from the fragments left behind. Clearly, the Daleks are pursuing the Doctor as they attempt to construct their ultimate weapon, the ‘Time Destructor’, and they make use of several allies along the way including the sinister Mavic Chen. The Daleks’ Master Plan also features the Meddling Monk, a Time Lord who had previously appeared in The Time Meddler, and he shines here as a foil for the Doctor’s companions and also for some comic relief in what is otherwise a serious story. Overall, the three surviving episodes of The Daleks’ Master Plan are among the most enjoyable of the episodes included in this collection, particularly since many of the individual parts have their own small self-contained stories in a similar fashion to an episode like The Chase.
The Celestial Toymaker
Only the final part of The Celestial Toymaker exists, and it is a strange experience. With absolutely no context the viewer is thrown into a seemingly nonsensical story involving Steven and Dodo playing an elaborate dice-rolling Snakes ‘n’ Ladders-type game with a man dressed like Tweedledum, whilst the Doctor (at least, a ghostly floating hand that the Toymaker addresses as the Doctor) balances triangular pyramid blocks in a seemingly random pattern. If that sounds totally insane, that’s because it is, and overall The Celestial Toymaker is one of the weaker entries in this collection. Had more episodes been found, or if there were some kind of recap to give an idea of the story before the episode plays, perhaps this would be a more enjoyable episode.
The Underwater Menace
The first example of a missing episode in the Second Doctor’s era is included here despite being given its own separate DVD release, and the reason is that the DVD release of The Underwater Menace is notoriously bad, featuring merely a reconstruction of the missing episodes with stills rather than animation in a similar fashion to the only episode remaining missing in The Web of Fear. As such, watching it on this DVD gives several options for viewing – the surviving footage included in the special features (most of which appears to be from censorship archives) and the single remaining episode, part 3. The costume design in this episode is wonderfully strange, and a general idea of the plot can be gleaned quickly even just from this single part. Not included here is the surviving two parts of The Moonbase, with the other two featured in this collection as audio reconstructions. Since the release of the ‘Lost in Time’ collection, The Moonbase has had a separate release on DVD with the missing episodes animated, which may be reviewed on this blog at a later date.
The Faceless Ones
That fact that only episodes 1 and 3 of the six-part Second Doctor story The Faceless Ones is a terrible shame considering that it is the episode in which Ben and Polly depart the TARDIS. Given the number of episodes featuring them that are missing coupled with their exclusion from the recent Twice Upon a Time one would be forgiven for thinking that the BBC had it in for Ben and Polly, for some reason. Regardless, the two surviving episodes of The Faceless Ones are enjoyable in themselves, with the Chameleons proving to be quite sinister and the acting quality and set design make this a competent story in terms of production value. The Second Doctor, Ben and Polly are all great in the surviving parts, and the monster is interesting and sinister, and that’s the best you can ask for from a set of orphaned episodes.
The Evil of the Daleks
The Evil of the Daleks is perhaps the most tragic of the lost episodes, particularly since so little of it remains. Only episode 2 and a handful of clips are included in this collection, and since then no more material has been found. This episode features the introduction of Second Doctor companion Victoria, and thankfully episode 2 gives her plenty of screen time. Unfortunately, there isn’t much Dalek action in this story, which is to be expected of such an early episode in the serial. Nonetheless, there are some interesting scenes, and there are surviving clips of the Dalek Emperor that can be viewed in the documentary features included in this collection, which is a nice touch and helps to fill out the lack of remaining full episodes.
The Abominable Snowmen
The episode that featured the debut of the Yeti, The Abominable Snowmen is another episode in this collection that suffers due to lack of context. There are many plots going on at once, but all that really matters to the viewer of this episode alone is the Doctor being held prisoner by men hunting the Yetis and scenes with the others trying to explore and find the Doctor. Given that only episode 2 of 6 survives, the story is established but decipherable, and there are some great scenes between Jamie and Victoria, but unfortunately there just isn’t enough of The Abominable Snowmen remaining to give a good impression. Since they were recovered in 2013, The Enemy of the World and The Web of Fear will not be included in this article despite being a feature of the collection and their appearance here is superfluous since they have now had separate DVD releases.
The Wheel in Space
This episode is a particularly significant installment in the Second Doctor’s era, since it features the introduction of companion Zoe Heriot, and also the reappearance of the Cybermen for the third time in the Second Doctor’s era (but not the last). Unfortunately, their voices are nowhere near as cool here as they were in The Tomb of the Cybermen, as it seems the vocoder has less of a presence in the voices of the standard Cybermen. Thankfully, the Cyber-Planner still has voice of the Cyber-Controller from Tomb, and it gets quite a bit of screentime in the two remaining episodes. Speaking of screentime, new companion Zoe gets a lot of attention in these episodes, as well as her growing relationship with Jamie and the Second Doctor, which is fortunate given that two thirds of the episode are missing. Episode 3, the first of the surviving parts, actually depicts Zoe’s first meeting with the Doctor, and the surviving Episode 6 shows how she joins the TARDIS crew, making this episode essential for Zoe fans – this is made better by the fact that both episodes 3 and 6 are made easy to understand and Episode 6 in particular works as almost a standalone story, which makes The Wheel in Space one of the highlights of the collection.
The Space Pirates
An ambitious story for the era, The Space Pirates uses some great model shots throughout the surviving Episode 2, which is sadly the only episode that still remains in the BBC archives. As this is the last episode on the collection, it is unfortunate that it has to be such a seemingly random installment – like many of the other examples of orphaned episodes, the single surviving part of The Space Pirates does not stand well as its own story, but there are some comedic scenes between the General and the old Spacer that are worth a watch. Overall, very little actually happens in this episode and it does seem a disappointing end to the collection.
Doctor Who – Lost in Time is a fascinating look at what many of the lost episodes were like, and the selection is both diverse and interesting. It is a shame that there are so many single episodes that don’t stand up on their own, but it is to be expected from the random selection of episodes that remain. The bonus features are a delight, with an entire documentary on the history of the missing episodes that includes other surviving clips and interviews with cast members, experts and lost episode discoverers, and overall the collection is well worth picking up.
Due to the change in the format of Doctor Who between the Classic Series and New Who, a lot more emphasis is placed on the ‘Series Finale’, i.e. the final episode of a series, usually a two-parter, that often involves big shakeups or changes in the status quo for the show. These include, but are not limited to: regenerations, the death or departure of the current companion, big plot reveals or appearances by well-known recurring villains. Since these episodes are so important to their respective seasons, it seems only fair to rank these episodes against each other to see which is the best. It must be noted that I am ranking these episodes based on their quality but also their effectiveness at tying up the plot elements of the series they conclude, so it may not simply be the case of the better episodes being higher. So, to begin:
10 – Hell Bent
Perhaps a predictable choice as there is no shortage of hate for this episode within the fandom, Hell Bent is a classic example of wasted potential. Regardless of any personal feelings towards the episode (which I actually feel is a lot better than many give it credit for) Hell Bent comes bottom of this list because it fails almost all of its tasks to round off Series 9. What was the Hybrid? Hell Bent tries to give us an answer – but ultimately it boils down to Moffat using the Hybrid as a buzzword throughout the series to make people think there was an arc, only for the curtain to be pulled back at the end to reveal… nothing. This episode is also hurt by its context – following on from the mighty Heaven Sent, Hell Bent just seems weak by comparison and lacks the emotional impact that the previous story had. Not only that, but Hell Bent also includes some highly questionable writing decisions – why bring the Doctor back to Gallifrey if by this point he doesn’t even seem to care about it? Why waste the amazing departure of Clara in Face the Raven only for her to come back to life here? Why have the Doctor shoot a man in cold blood, even if by this point he has gone insane? Clearly, Hell Bent raises more questions than it answers, which is never a good thing for a finale.
9 – Journey’s End
Speaking of wasted potential, here is another classic example of a finale episode that is vastly inferior to its predecessor. Unlike Hell Bent, Journey’s End is actually praised by the majority of the fanbase (probably because it is a Tennant episode) but what most people fail to realise is that the episode didn’t deliver anywhere near what the fanbase deserved, and we know this because the previous episode, The Stolen Earth, was basically perfect. I mentioned in my How to Fix article on this finale that one of the main reasons why Journey’s End seems lackluster is that it takes what The Stolen Earth set up and throws it all away – All of the cliffhangers that were set up are resolved almost immediately with little effort, The Daleks were a real threat in The Stolen Earth but by Journey’s End they are reduced to being spun around like malfunctioning dodgems, and Davros lacks all the subtlety to his character that Russell had written in The Stolen Earth, instead appearing as a ranting raving lunatic who cackles like Emperor Palpatine. Another major thing that hurts this episode is all the stakes from the previous one are gone. Did anyone actually think the Doctor would regenerate, or that the TARDIS would be destroyed? Of course not. And to top it all off, the Tenth Doctor shows his true colours by using his mind powers to wipe Donna’s memory against her will, even though she had his intelligence and so should have been able to make the decision to live or die herself. Overall, Journey’s End disgraces the Daleks, Davros, the Doctor and the show all in one, but it definitely gains points for having the most returning companions in a single episode, including Sarah Jane Smith, Martha, Rose and Captain Jack, as well as crossing over into the spinoff shows The Sarah Jane Adventures and Torchwood.
8 – The Wedding of River Song
It has to be said that, for all this episode’s faults, it does actually deliver a plot resolution that was satisfying and added to River’s arc. Since we had already found out in A Good Man Goes To War that River was Amy and Rory’s child, it was unexpected that we would get another big reveal about her character so soon, but the reveal that she is the Doctor’s wife rounded off an arc that had been started all the way back in Silence in the Library/Forest of the Dead. In typical fashion for Eleventh Doctor finales, the entire episode takes place in a strange alternate universe, but this doesn’t necessarily hurt the episode in any way as it allows for some really interesting and satisfying concepts to play out – for one, Amy brutally murders Madame Kovarian, a villain I despised, so that definitely works in this episode’s favor – also, the idea of Amy and Rory falling in love even when they have only just met seems strange at first but actually works really well in the episode. Overall, whilst not a particularly strong episode, The Wedding of River Song definitely delivers as a finale, although it is not among the best.
7 – The Name of the Doctor
With the 50th Anniversary on the horizon, The Name of the Doctor had more to do than other New Who finales – it had to not only conclude the Series in a way that was satisfying, but it also had the task of setting up The Day of the Doctor, which was no small feat. Overall, it succeeds at both tasks in some ways, as it does provide a conclusive answer to who Clara Oswald is an why she is important, whilst also giving us a great reveal of the War Doctor, which came as a huge surprise. Not only that, but it even manages to set up the Doctor’s regeneration in The Time of the Doctor by giving us a look at the planet ‘Trenzalore’, alleged to be the Doctor’s grave. The Name of the Doctor also brought back the Great Intelligence, a relatively minor Second Doctor enemy who (for some reason) got special attention as a returning villain in the Eleventh Doctor’s era despite Moffat claiming that ‘forgettable’ villains like the Rani don’t deserve a comeback. Seriously, Moffat? But I digress – The Name of the Doctor, like The Wedding of River Song, is definitely not one of my favourite episodes of New Who, but as a finale it serves its purpose whilst also setting up the 50th Anniversary special effectively.
6 – Last of the Time Lords
This episode can be summed up in one word – strange. Concluding the three-part ‘Master Trilogy’ containing Utopia and The Sound of Drums, Last of the Time Lords does a great job of showing just how much of a threat the Master can be when he puts his mind to conquering the world. For all the faults in the characterisation of the ‘Saxon’ Master that is not consistent with his appearance in the Classic Series, he is a formidable foe in this episode and the stakes are really high, and the twist at the end and how the Master achieves his ‘victory’ came as a genuine surprise to a lot of fans who expected the character to pull a classic ‘I’ll get you next time’ and somehow escape. Whilst the ‘time-reversal’ technique is about as sloppy as the writing gets on Doctor Who, in this episode it is somewhat justified and set up from the very beginning, making it forgivable – although the final scenes that cross Return of the Jedi with Flash Gordon have not aged well at all, particularly given the Master’s lackluster return in The End of Time. One of the best things about Last of the Time Lords is Martha, who really shines in this episode, proving her worth as a companion and essentially saving the Doctor, her family, the planet and all of human history, as well as being the only Tennant-era companion to depart the show with a shred of dignity.
5 – Doomsday
Children of the nation were ecstatic at the prospect of an episode featuring a war between the Daleks and the Cybermen in the run-up to this episode, and generally on that front it didn’t disappoint – Doomsday delivers quite an action-packed episode considering the BBC budget, and the episode delivers a heavy-hitting emotional ending that keeps Tennant fans weeping to this very day. The only thing that brings Doomsday down is the sloppy focus – the episode had so much going on: Torchwood, the Cult of Skaro, Cybermen, Jackie and Pete’s relationship and Mickey and Jake coming back – all whilst trying to deliver the Doctor and Rose’s final adventure together. Overall, though, the stakes are high throughout, there are some great scenes with the Daleks and the Cybermen, and as finales go, Doomsday‘s ‘companion departure’ scene is both brutal and beautiful at once. Highlights of this episode are definitely the brief but intense battles between the various factions at play in the story, and the reveal of the Genesis Ark as a dimensionally transcendental prison that spews millions of Daleks across the nation definitely stands as one of the greatest Dalek moments of all time.
4 – The Big Bang
The first finale of Steven Moffat’s run as showrunner gave the fanbase an insight into how his methods of conclude a series vastly differed from that of Russell T. Davies – who preferred to conclude his seasons with a bombastic action-packed finale – in that The Big Bang is a far more low-key and personal episode that any New Who finale we had seen prior. In sharp contrast with the armies of Daleks, Toclafane and Cybermen we had seen in Russell’s tenure, this episode contains only one Dalek, and a classic runaround in a deserted museum that just so happens to be on the cusp of the end of the universe. The relationship between River and the Doctor is explored a little more (without giving too much away) and Rory gets to stay as an Auton for a day, giving him an awesome character-defining moment as he saves Amy and Amelia from the Stone Dalek with his hand-blaster. In keeping with the theme of the universe collapsing in on itself, The Bing Bang has some quite spooky moments in it to, and some that leave an eerie feeling that something is wrong – particularly the distinctive “You know there’s no such thing as stars”. This finale ties the arc of Series 5 together wonderfully, and the inclusion of the scene in which the Doctor speaks to Amy on the Byzantium (that had appeared in the episode Flesh and Stone, albeit out of context) proves that Moffat does understand the concept of a flowchart of events, who would have thought?
3 – Death In Heaven
As far as episodes ending on both a reveal and a cliffhangar are concerned, few beat the conclusion to the Series 8 penultimate episode, Dark Water. Thankfully, the finale Death In Heaven follows up on the fantastic reveal that Missy is the Master with an action-packed finale that would have brought a tear to Russell’s eye. Moffat proves he can write a wonderful Doctor-Master dynamic as Twelve and Missy work wonderfully together, and this episode also provides a satisfying conclusion to the ‘Welcome to Heaven’ arc that had permeated throughout the series. Not only that, but the episode actually follows through with the death of Danny Pink in the previous episode, going so far as to convert him into a Cyberman and providing some really heavy-hitting emotional moments as he battles with his intense shock and horror of being dead while Clara desperately tries to save him. This episode proved quite controversial at the time due to the dark tone and horror themes threaded throughout, but in hindsight this only adds to the episode’s shock factor and emotional weight. Overall, Death In Heaven showcases some of the best that the Moffat era has to offer, and is certainly in the top 3 finales of New Who.
2 – The Parting of the Ways
The original New Who finale, The Parting of the Ways established several important factors that would become staples of most New Who finales in the future, and yet it still ranks higher than its immediate successors simply because of the masterful ways in which it depicts the final moments of the Ninth Doctor’s life. The final battle in the Game Station remains one of the best plot devices for a finale of all time – each scene builds the tension higher and higher as the Dalek army slowly crushes all resistance and closes in on the Doctor as he is forced to make some heartbreaking choices to save both the Earth and his companion Rose. One of the highlights of this episode is the Emperor Dalek, now completely insane and convinced that he is a God, as he rants and raves with his deep, guttural take on the standard Dalek voice (that makes it clear Nicholas Briggs had a blast recording), gloating at the horrendous acts he has committed. Christopher Eccleston’s time as the Doctor was short-lived but he manages to leave his mark on the show’s history here more than anywhere, as his defining character moment at the climax of the episode proves just how much the Doctor has learned since the Time War and shows that he is no longer the vicious warrior that the Time War forced him to become. Any doubt that the public had about a new series of Doctor Who were swept away once and for all after The Parting of the Ways, and Tennant’s cheeky grin as the closing theme’s howls drew the episode to a close left audiences wanting more. So the question remains – what New Who finale could beat this?
1 – The Doctor Falls
From the first New Who finale to the most recent, the obvious choice for number one is The Doctor Falls. Jam-packed with just the right amounts of action, heart, fanservice, emotion, terror and hope, this finale had a tough job following on from the equally legendary World Enough and Time, and yet The Doctor Falls met expectations (and in some ways surpassed them) giving fans a finale that helped catapult Series 10 to the top of many ‘Best Series’ lists. For a start, this episode is the first televised Multi-Master story, and although Big Finish had done a Multi-Master audio in 2016, the chemistry between Simm and Gomez gives this story the edge – the entire arc of Missy’s story as well as the Master’s arc in New Who in general culminates in this episode, and it does not disappoint. Secondly, this episode is perhaps one of the most emotional yet – everything from Missy’s demise, Nardole’s departure, the Twelfth Doctor’s death and, of course, the aftereffects of Bill’s traumatic Cyber-conversion in the previous episode all coalesce to make this finale arguably the most heavy-hitting. The only factor in The Doctor Falls that brings it down is Heather’s seemingly random appearace at the end – many fans have compared Bill’s ultimate fate with that of Clara’s from Hell Bent, and although the circumstances are similar, Bill’s situation was set up in advance and seems far more warranted, as Bill was definitely a more likeable character and deserved a happy ending, at least in my opinion. The highlight of the episode, by far, is Capaldi’s speech on kindness – not only does this speech conclude his arc as the Doctor as he finally understands what kind of man he is and what his place in the universe is far, but it also links this finale all the way back to The Parting of the Ways whilst also defining the character of the Doctor overall in an impactful speech that will undoubtedly be remembered as one of the greatest Doctor Who moments of all time. Ultimately, The Doctor Falls concluded Series 10 on a high note, proving that Moffat can write a consistent two-part finale once again, has some of the best performances in Doctor Who, and delivers the fantastic finale that Series 10 deserved.
So that concludes our list ranking the New Who finales. Do you agree with this list? What was your favourite New Who finale? Leave your thoughts in the comments below, and if you enjoyed be sure to leave a like, or follow Sacred Icon either here or on Facebook for more content like this. Thanks for reading!
As far as ratings go, reception for 1988’s Silver Nemesis is generally quite poor. The Discontinuity Guide puts this episode down as lacking ‘pace and character involvement’, which could be saying more about the shortcomings of the three-part format than anything else. Regardless, Silver Nemesis does commit the cardinal sin that many post-1960s Cybermen stories are guilty of – including the Cybermen in the story, without doing anything interesting with them. But surely amidst all this negative criticism, there must be something worthwhile to talk about from this story. After all, for better or worse, it will forever remain Doctor Who’s 25th Anniversary episode.
So to begin my analysis of Silver Nemesis, let’s start with the obvious – Sylvester McCoy and Sophie Aldred are fantastic in this episode. The Seventh Doctor is regarded as unpopular, but in reality he is simply overlooked – for those who watch his episodes, a darker, more exciting and more serious side to the Seventh Doctor becomes clear. Once he drops his comic facade, the Seventh Doctor is cunning and devious, but never strays too far from his good nature. In this episode the Seventh Doctor pulls off a daring feat of strategy and manipulation to ensure that neither the Cybermen, the Neo-Nazis, or an insane lady from the past achieve their goals.
Speaking of an insane lady from the past, there is a strange subplot involving a certain Lady Peinforte, who has apparently at some point in the past encountered a Time Lord weapon and managed to bend it to her will (even making it take on her appearance) and has somehow discovered the secrets of alchemical time travel, all whilst being a cavalier from the 1500s. Whilst the character of Peinforte may seem like an odd addition, her presence in the story provides an interesting method by which Cybermen are destroyed – her arrows, which she believes are effective due to being laced with poison, are actually useful for killing Cybermen due to the fact that the tips are made of gold (for some reason.) Ultimately, Peinforte is mostly in the episode for comic relief, and her death is as anticlimactic as her role in the story turns out to be.
The Cybermen in this story are about as effective as they have been throughout the 80s – so make of that what you will. They do prove their effectiveness in combat by annihilating many of the Nazi soldiers, but seeing Cybermen being felled by arrows and tiny rocks of gold flung at them by Ace’s slingshot effectively completes their devaluation as villains that had been in process throughout the decade. After being destroyed by the spears of the Raston Warrior Robot in The Five Doctors it seems that arrows was the next logical step. Nonetheless, the Cybermen do present a threat in the parallels that are drawn between those and the Nazis. Hearing the Cyberleader and the Nazi commander negotiating the division of dominion over Earth in terms of labor camps is chilling.
Ultimately though, having recently read the novelisation of the unmade Season ’27’ episode Illegal Alien, it has to be said that the plot of that book is somewhat superior to this episode. Oddly, both involve Nazis, and one of the reasons why Illegal Alien didn’t make it to Season 26 is due to the fact that there was already a World War 2 episode planned. Silver Nemesis does have some big positives, particularly Sylvester McCoy and Sophie Aldred’s performances as the Seventh Doctor and Ace, who are always a great Doctor/Companion pairing. As with the rest of Season 25, Silver Nemesis is worth a watch for the novelty factor alone.
So there were my thoughts on Silver Nemesis, if you enjoyed be sure to leave a like and you can follow us either here or on Facebook for more content like this. Thanks for reading!
I have been a lifelong fan of Star Trek, but often through watching the same episodes of the same series over and over again, primarily Star Trek: The Next Generation. I later went on to start watching Voyager, but after several Netflix marathons I had finished all the good episodes that I hadn’t already seen on SciFi, and so found that I had run out of new Star Trek to watch. So, after much deliberation, I finally concluded: I had to start watching Deep Space 9. Unlike practically all other Star Trek shows and films, DS9 was a show that had never interested me before due to it’s premise – rather than crewing a starship, the main cast instead man a space station guarding a wormhole, and I had always assumed – wrongly – that this would mean that the show was boring. But after watching some DS9 for myself, so far the highlights have been:
The ‘friendship’ between Quark and Odo
Two surprise favorites of mine are Quark and Odo, who start as fairly bland characters but eventually gain a wealth of development in the first series. The two are initially rivals, having known each other already from the Cardassian occupation, but eventually learn to depend on each other for information and advice as the series continues. Interestingly, despite being framed as a potential antagonist, Quark does eventually come to care for the rest of the crew, particularly Odo.
Odo’s odd abilities and origins are also intriguing, and I am almost certain that what race Odo belongs to or what role he plays on Deep Space Nine will be an important factors in later seasons, and Quark gives us a unique insight into the Ferengi culture. Talking of which:
Throughout Star Trek: The Next Generation it is apparent that the writers never really knew what to do with the Ferengi as a species. Initially introduced as a replacement for the Klingons after they allied with the Fededation, the Ferengi were just not menacing enough to stick as effective villains and their role was reduced to mere comedy by the end, with the role of primary villain eventually falling to the Romulans and the Borg.
In DS9, however, the Ferengi become a direct focus as their presence on the station is benign – this gives us our first and foremost Ferengi recurring character, Quark, and so the Ferengi as a species are expanded upon a lot more, giving us better insight into their culture and how they operate.
The Setting and the Politics of Bajor
DS9 deals heavily with the aftermath of the Cardassian occupation of Bajor, a planet that is not a member of the Federation but has the potential to be inducted, and how Starfleet has to deal with the subsequent political, religious and economic impact of the discovery of a stable wormhole near Bajor that leads to the lucrative Gamma Quadrant just as Bajor begins to reassert itself as an independent power. The character of Major Kira, a Bajoran ex-freedom fighter who takes on the role of First Officer aboard DS9 to aid in the reconstruction efforts, and how her relationship with Commander Sisko and the other Federation characters blossoms shows how the benevolence and honorable intentions of the Federation can go a long way in bringing trust, order and stability to a highly chaotic region, explaining how the Federation has expanded so rapidly despite its dedication to pacifism.
What is also interesting about DS9 is how it refuses to shy away from depicting very real interpretations of political and religious debates, particularly in the context of a sensitive, deeply religious and politically charged former occupied territory. Many of the ethical and moral questions brought up in the early episodes revolve around how Bajor is going to adapt to survive in the new political climate, and this mostly focuses on Major Kira learning to accept and eventually trust her Starfleet colleagues.
Fans of Star Trek: The Next Generation will know Miles O’Brien already, as he serves as the transporter chief and occasional bridge officer throughout the series. The first episode of DS9 depicts his transference from the USS Enterprise to DS9, alongside his faithful wife Keiko O’Brien who continues to be little more than a minor character throughout the series. By contrast, O’Brien takes on a ‘Scotty’ role, and fills the shoes of Chief Engineer more naturally than Geordi La Forge did in many ways.
Miles definitely plays a more prominent role in this show than he did in TNG, but the inclusion of Miles O’Brien in so many episodes of both TNG and DS9 gives him the honour of being the character with the second largest number of appearances – behind Warf who doesn’t feature in DS9 until later but featured in all of TNG as well as the movies – and the idea of bringing back a character who was less developed in the main series in one of the spinoffs is something that the newer Star Trek television shows should consider.
Doctor Julian Bashir
In short – Bashir is hilarious. Intentionally or not, DS9 follows the Star Trek tradition of having Doctors with eclectic and quirky personalities, and Bashir’s many moments linking to a recurring subplot of his bizarre comedic obsession with Dax make him a distinct character among the rest of the Federation cast. I frequently found myself uttering the statement: “Oh Bashir, you idiot.” at various points throughout several episodes, although not all of his misfortunes and mishaps are his fault – occasionally he is possessed by evil entities or a victim of his obsessive fantasies of Dax made solid by a strange phenomenon in a strangely Red Dwarf-esque plot. Generally, episodes focusing on Bashir are great fun.
Having finished the first series of DS9, I can conclude that DS9 is definitely worth the time and I am greatly looking forward to watching more. The characters are likeable, interesting and have good chemistry, and my personal favourites are definitely Bashir, Dax and Odo. For the rest of the casst, despite a few instances of hammy acting or underwhelming sub-plots, generally the first series has been consistently good, with perhaps a slight dip in quality roundabout the middle, although the quality goes back up towards the end of the series.
So those were my thoughts on Star Trek: Deep Space Nine, series one. Have you watched Deep Space Nine? If so, did you like it? Leave your answer in the comments below, and be sure to leave a like if you enjoyed. Thanks for Reading!